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CONCERTO FOR CLARINET AND ORCHESTRA (1947)I. A wizardly weave of contrapuntal themes and rhythmic motives instantly engulfs us. The solo clarinet enters on the intervals that gave historic birth to the instrument: octave, fifth, and twelfth, its harmonic backbone. The theme creates a sweeping arch over seven measures long eloquently encompassing all the clarinet’s registers.

The first movement coda ends with a twinkle as the clarinet giggles a bluesy trill; followed by a glockenspiel exclama-tion point and a timpani plop! I am reminded of my interview with Lukas Foss on his student memories of Hindemith at Tanglewood. “After class he took us down to the pond for a swim. I’ll never forget the sound of his plump little body landing in the water with a plop!”

II. The ostinato takes a five note pizzicato pattern with a jazz syncopation before the fifth note. The groove slides over to another beat at each entrance making a simple steady 2/2 time excitingly elusive. Riding that groove is a rapid clarinet lick right out of the “King of Swing”’s bag. A rhythm section (timpani, snare drum, triangle, and tambourine) sets a “Krupa-like” complexity, and before you know it the ride ends with the band disappearing clean as a clarinet pianissimo.

III. Perhaps the longest, most melancholic, beautiful melody ever written for the clarinet; twenty measures of breath-taking calm and majesty. Balancing this sweeping aria is a recitative (measures 51-71). Hindemith gives the return of the song to solo oboe surrounded by soft, tiny woodwind creatures and muted murmurings for two solo violins. The end is haunted by a return of the recitative and a chromatically convoluted cadence allowing the clarinet to resolve in the home tonality of A major.

IV. A rondo reminiscent of Mozart’s K. 622, in meter, rhythmic phrasing, tonality, and gay spirit. The ability to leap tall intervals in a single bound which thrilled Mozart when he heard Anton Stadler launch into them also encouraged Hindemith. A gigantic fugata works its way through the entire symphony orchestra starting in measure 79. First every four bars in the brass, then in two bar entrances in the strings leading to a conflagration fortissimo.

The concerto, written for Benny Goodman in 1949, was finally recorded by clarinetist Louis Cahuzac with the composer conducting.

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Photo by William “PoPsie” Randolph copyright 2013 Michael Randolph www.PoPsiePhotos.com Paul Hindemith with Benny Goodman

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QUINTET FOR CLARINET AND STRING QUARTET (1923)*Hindemith was only 28 when he wrote his Clarinet Quintet, which teems with energy and invention. The two minutes first movement launches the listener headlong into the composer’s kaleidoscopic world. A reflective cello solo sud-denly emerges to begin a rich contrapuntal section for the strings that opens the second movement. The clarinet joins the dialogue, the intensity increases and a brilliant clarinet cadenza leads to a cantabile solo with pizzicato accompani-ment. The five instruments rejoin in a lyric conclusion.

Nothing previously heard has prepared us for the marvelous insanity of the third movement. The clarinet suddenly is playing the raucous and piercing E-flat instrument that was the voice of Till in Strauss’ Till Eulenspiegal. Folk songs careen among the instruments, many of which seem to be playing in slightly different keys from their partners. Echoes of Mahler and the German countryside flash by, with more than a hint of 1920’s Berlin decadence thrown in for good measure. The fourth movement is in yet another world as the muted first violin plays a melancholy solo above a pizzicato accom-paniment punctuated by three separated solo low notes from the clarinet (which has returned to its B-flat voice). How does Hindemith end the Quintet? – How about playing the first movement exactly backwards! (Notes provided by Max Wilcox)

*Under license from Sony Music Commercial Music Group, a division of Sony Music Entertainment.

5 Paul Hindemith and Yehudi Wyner

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THE SONATA FOR CLARINET AND PIANO (1939) is performed here by Yehudi Wyner, pianist, Pulitzer Prize winning composer, and a student of Hindemith at Yale. Later Yehudi joined the Yale faculty, which is how I first had the honor and excitement of attending his classes in opera. Now I have the great good fortune to work, learn, and perform with him the literature for clarinet and piano.

He has magnificently expanded that literature with Commedia written for Emmanuel Ax and me and Trio 2009 for Robert Levin, Lynn Harrell, and myself.

Delving into Hindemith’s Sonata with Yehudi has been a uniquely rewarding experienc. Drawing on his own personal relationship with the man has helped me get behind the notes to the sensibilities of Hindemith’s exuberant way with music as he conducted the Yale Collegium. And studying and performing this music with Yehudi Wyner has enriched and deepened the connection I had hoped to make with this Sonata.

Lastly I must dedicate RESOLVE and our performance to the memory of Keith Wilson, my clarinet teacher at Yale, col-league of Hindemith and Wyner, and master of an expressive singing sound on his instrument – inspiring us with his musicianship and humanity.

Richard Stoltzman

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RICHARD STOLTZMANTwo-time Grammy® Award winning clarinetist Richard Stoltzman’s vir-tuosity, technique, imagination, and communicative power have revo-lutionized the world of clarinet playing, opening up possibilities for the instrument that no one could have predicted. He was responsible for bringing the clarinet to the forefront as a solo instrument, and is still the world’s foremost clarinetist. Stoltzman gave the first clarinet recitals in the histories of both the Hol-lywood Bowl and Carnegie Hall, and, in 1986, became the first wind player to be awarded the Avery Fisher Prize. As one of today’s most sought-after artists, Stoltzman has been a soloist with more than a hun-dred orchestras as well as a recitalist and chamber music performer, innovative jazz artist, and prolific recording artist. A two-time Grammy Award winner, he has amazed critics and audiences alike in repertory spanning many musical genres.

Stoltzman’s talents as a jazz performer as well as a classical artist have been heard far beyond his annual tours. He has performed and record-ed with such classical, jazz, and pop greats as Emmanual AX, Yo-Yo Ma, Gary Burton, the Canadian Brass, Chick Corea, Judy Collins, Eddie Go-mez, Keith Jarrett, the King’s Singers, George Shearing, Wayne Shorter, Mel Tormé, and Spyro Gyra founder Jeremy Wall. Stoltzman frequently performs with his son Peter John Stoltzman, a talented classical and jazz pianist and composer. With his wife, marimbist and force of nature, Mika Stoltzman, they are introducing delighted audiences all over the world to their “Duo for Love,” marimba and clarinet.

Stoltzman graduated from Ohio State University with a double major in music and mathematics. He earned his Master of Music degree at Yale University while studying with Keith Wilson, and later studied with Kalmen Opperman at Columbia University. He makes his home in Mas-sachusetts and is a passionate Boston Red Sox fan. He is also a Cordon Bleu-trained pastry chef whose specialty is the Linzer Torte.www.richardstoltzman.com

Photo by Lisa Marie Mazzuco

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KIRK TREVOR Internationally known conductor, recording artist and conducting teacher, Kirk Trevor is a regular guest conductor in the world’s most prestigious concert halls. He has been Music Director of the Missouri Symphony since 2000 and the India-napolis Chamber Orchestra since 1988. He was Music Director of the Knoxville Symphony from 1987-2003 and now serves as Conductor Laureate. Born and educated in England, Trevor studied at London’s Guildhall School of Music where he graduated cum laude in Cello Performance and Conducting. He went on to pursue cello studies in France with Paul Torte-lier and came to the U.S. on a Fulbright Exchange Grant. It was in the U.S. that his conducting skills let him to the position of Resident Conductor of the Dallas Symphony. In 1990 he won the Leonard Bernstein Conducting Competition.

Maestro Trevor has been widely recognized as one of the leading conducting teachers in the world. In 1991 he co-founded and has been Artistic Director of the International Workshop for Conductors held each summer in the Czech Republic. Trevor has been Director of Orchestras at both the University of Tennessee and Ball State University and is a frequent guest teacher at universities around the globe focusing on baton techniques and the psychology of the orchestra.

As a recording artist, Trevor has recorded more than one hundred CD’s for Naxos, EMI and Albany records among others. He has recorded more than sixty CD’s of music by living composers as well as working with the world’s leading soloists including Richard Stoltzman, Chloe Hanslip, Joshua Pierce among others. He also has recorded music for numerous video games including Diablo II. He regularly records with the Slovak National Symphony in Bratislava where he has been princi-pal conductor. His recordings are regularly featured on NPR and leading radio stations around the world.

Maestro Trevor has appeared as a guest with more than forty orchestras in fourteen countries, including the London Sym-phony, the Israel Chamber Orchestra, OSUSP, the Symphony Orchestras of Warsaw, Sofia, Basel, Prague, Indianapolis, Baltimore and St. Louis among others.

Maestro Trevor is married to Slovak harpist Maria Duhova and they have three young children,seven-year-old Sylvia, five-year-old Daniel and one year old Aidan. Mr. Trevor’s daughter Chloe Trevor frequently appears as a solo violinist on the world stages, often with her father as conductor. Maestro Trevor lives in Columbia, Indianapolis and Bratislava.

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TASHI ENSEMBLE Theodore Arm, violin - Audiences throughout the United States, Canada, Europe and Japan have responded with warmth and excitement to the artistry of violinist Theodore Arm. He has appeared as soloist, recitalist and has been guest artist with such well known organizations as the Chamber Music Society of Lincoln Center, The Group for Contemporary Music and Bargemusic Ltd. Mr. Arm has been a member of TASHI since 1976 and has performed with Lukas Foss, Chick Corea and Gary Burton among others. He has had works written for him, most recently a violin concerto by Allan Leichtling and a suite for violin and piano by David Schiff. Mr. Arm, who performs on an Andreas Guarneri violin dated 1652, is a favorite of summer chamber music festival audi-ences. This past season, he performed with Chamber Music Northwest in Portland, Oregon, Music from Angel Fire in New Mexico, the “Bravo” Festival in Vail, Colorado, and taught and performed at the renowned Kneisel Hall Chamber Music School of Blue Hill, Maine. In 1992 he returned to Japan to take part in performances and chamber music coaching at the Moon Beach Festival in Okinawa and Tokyo with artists from Europe and Asia. Mr. Arm has recorded for RCA, Delos, Musical Heritage Society and ECM. He can be heard on the University of Connecticut recording project in a work by Sidney Hodkinson with Paul Phillips conducting the UConn Orchestra. He is a professor of violin at the University of Connecticut. Mr. Arm holds a doctorate in performance from the Juilliard School, where he studied with Christine Dethier and Joseph Fuchs.

Ida Kavafian, violin - Internationally known both as a violinist and violist, Ms. Kavafian has created a rich and varied career. Besides serving as violinist of the famed Beaux Arts Trio, she has also toured and recorded with the Guarneri Quar-tet, jazz great Chick Corea, and the Chamber Music Society of Lincoln Center. In addition to solo and chamber recitals, or-chestral appearances, and duos with her sister Ani, she has guided the extraordinary success of two major festivals, Bravo! Colorado in Vail and Music from Angel Fire in New Mexico.

Fred Sherry, cello - Perhaps more than any of his colleagues, Fred Sherry looks the part of a musician; his white mane seems perfectly consistent with one’s image of a cellist. He surprises in other ways, however, with his interest in Kung Fu movies, body piercing and women pool champions. An Artist Member of the Society since 1984, he was its Artistic Director from 1989 to 1992. He is a founding member of TASHI, a frequent performer at Bargemusic and a member of the faculty of The Juilliard School. Mr. Sherry has had close working relationships with composers Milton Babbitt, Luciano Berio, El-liott Carter, Aaron Copland, Lukas Foss and Toru Takemitsu as well as jazz pianist and composer Chick Corea. An ardent

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supporter of contemporary composers, he has premiered works by Milton Babbitt, Mario Davidovsky and Steve Mackey, and in 1988 performed the premiere of Charles Wuorinen’s concerto, Five, with choreography by Jean-Pierre Bonnefoux, at New York City Ballet. Widely represented on compact disc, he recently embarked on a series of recordings for Koch International Classics. He has devoted much time to contemplating cello technique, and is now preparing to write a book on the subject. He is a fan of Vladimir Nabokov and an avid cook. His wife, Carol Archer, is a pianist.

Steven Tenenbom, viola - Steven Tenenbom’s impeccable style and sumptuous tone have built for him a reputa-tion as one of America’s finest violists. In great demand as soloist and chamber musician, Steven Tenenbom has appeared as guest artist with such eminent ensembles as the Guarneri and Emerson String Quartets, the Kalichstein-Laredo-Robinson and Beaux Arts Trios, the Chamber Music Society of Lincoln Center, and Chamber Music at the Y. He has appeared as soloist with the Rochester Philharmonic Orchestra and the Brandenburg Ensemble for performances in Boston’s Symphony Hall, the Kennedy Center in Washington, D.C., Avery Fisher Hall in New York City, and on tour in Japan. His 1996-97 season included recitals in New York and La Jolla, as well as concerto performances in Michigan (Bartok Concerto), Cincinnati, and Phoenix. A member of the prestigious groups TASHI, Mr. Tenenbom has worked with such diverse composers as Lukas Foss and jazz artist Chick Corea. He has had a long association with the Galimir String Quartet and the Marlboro Music Festival, includ-ing many tours across the United States, Japan, and France. Other festival credits include the June Music Festival, Mostly Mozart, Chamber Music West, Music From Angel Fire, and Bravo! Colorado. In addition to Mr. Tenenbom’s distinguished career as a chamber musician and soloist, he is also on the faculties of the Mannes College of Music and the Hartt School of Music. He is the Chamber Music Coordinator for The Cur-tis Institute of Music, and is responsible for overseeing the chamber music department’s studies and performances. Mr. Tenenbom has recorded on RCA Records with TASHI and the Guarneri String Quartet, and can also be heard on the Sony Classical, Marlboro Recording Society, Delos, and ECM labels.Born in Phoenix, Arizona, Mr. Tenenbom began his early studies with Max Mandel. He then attended the University of Southern California as a pupil of Milton Thomas, working with Heidi Castleman during the summers. Further studies car-ried him to the Curtis Institute of Music where he worked with Michael Tree and Karen Tuttle. Married to violinist Ida Kava-fian, the Tenenboms live in Connecticut where they raise, train and show champion Vizsla purebred dogs under the kennel name “Opus One Vizslas”.

Richard Stoltzman, clarinet

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YEHUDI WYNERPulitzer Prize-winning composer Yehudi Wyner has created a diverse body of over 100 works for or-chestra, chamber ensemble, solo performers, choral music, theater music, and liturgical services. In addition to composing and teaching, his active and eclectic musical career includes work as a per-former, director of two opera companies, and conductor of numerous ensembles in a wide range of repertory. “A comprehensive musician, Wyner is an elegant pianist, a fine conductor, a prolific composer, and a revered teacher.” (Anthony Tommasini, The New York Times, 2009)

He has received commissions from Carnegie Hall, the Boston Symphony, the BBC, Library of Con-gress, Ford Foundation, Koussevitzky Foundation and The National Endowment for the Arts. His awards include two Guggenheim Fellowships, the Rome Prize, and the Elise Stoeger Prize given by

the Chamber Music Society of Lincoln Center for “lifetime contribution to chamber music.” His recording The Mirror won a 2005 Grammy® Award and his prize-winning piano concerto, Chiavi in Mano, was nominated for a 2009 Grammy®. A member of the American Academy of Arts and Letters and The American Academy of Arts and Sciences, he has served on the faculties of Yale, Harvard, Cornell, and Brandeis Universities, was dean of the Music Division at SUNY Purchase, and on the chamber music faculty at the Tanglewood Music Center from 1975–1997. Wyner’s music is published by G. Schirmer-Associated Music Publishers, Inc. He is married to conductor and former soprano Susan Davenny Wyner.

His wife, Susan Davenny Wyner, has been an enormous source of inspiration; a number of Wyner’s most strikingly beauti-ful compositions were created specifically for her. Among them are Intermedio (1976), a lyric ballet for soprano and string orchestra; Fragments from Antiquity (1978–1981), for soprano and orchestra; and On This Most Voluptuous Night (1982), for soprano and chamber ensemble.

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PAUL HINDEMITH Paul Hindemith was born on November 16, 1895 in Hanau. He studied the violin and com-position with Adolf Rebner, Arnold Mendelssohn and Bernhard Sekles at the Hoch Con-servatory in Frankfurt/Main. He was only twenty when he was appointed as the leader of the Frankfurt Opera Orchestra. After the end of the First World War, he returned to Frankfurt and founded the Amar Quartet in which he played the viola from 1922 to 1929. In 1923, Hindemith became a member of the organisational committee for the Donaue-schingen Music Festival: it was at this festival that he gained an initial reputation following the first performance of his String Quartet Op. 16. In 1927, he was appointed as professor for composition at the Hochschule für Musik in Berlin. His career as a composer reached a

first peak at the beginning of the 1930s, but with the seizure of power by the National Socialists, his works were declared as “culturally bolshevist” and disappeared from concert programmes. Hindemith undertook a num-ber of journeys to Turkey and the USA. In 1936, a final ban was issued for the performance of his works which provoked Hindemith to emigrate, initially to Switzerland. He subsequently relocated to the USA and acquired American nationality (1946). As a professor, he taught at Yale University from 1940 to 1953 and was a guest lecturer for poetry at the Harvard University in 1949/50. From 1951 to 1957, he was a professor for musicology at the Zurich University and settled in Blonay near Lake Geneva. Paul Hindemith died on December 28, 1963 in Frankfurt/Main.

Hindemith played a prominent role in music history, not only as one of the leading composers of the century, but also as conductor, teacher and musical theorist. His oeuvre spans all genres: orchestral works, solo con-certos, chamber music for a wide variety of instruments, choral works, lieder, operas and ballets. He was also the author of numerous books and essays, including the book on harmonic theory “Unterweisung im Tonsatz”, first published in 1937. His compositions take up a position within the contradictory contexts of avant-garde provocation, “Neue Sachlichkeit” [New Objectivity] and the search for a universally accepted musical language. While Kammermusik No.1 which was premiered in1922 in Donaueschingen was deliberately intended to pro-voke the bourgeois public with its wailing sirens, the later Kammermusik works which were composed up to 1927 display the transparent, contrapuntal and well-dosed harmony which chiefly characterised Hindemith’s works during his central creative phase. The Concerto for violin and orchestra from 1939 heralded a series of later solo concertos which display Hindemith’s fully matured style.

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Hindemith produced a decisively contrasting alternative to Wagner’s musical dramas with his comic opera Neues vom Tage (1828-29), composed in the style of the “topical opera” of the 1920s. Hindemith’s operas frequently contain stylistic elements of parody which can also be detected in his ironical chamber music works such as Minimax (1923) or the Ouvertüre zum „Fliegenden Holländer“ („wie sie eine Kurkapelle morgens um 7 am Brunnen vom Blatt spielt“) [Overture to the “Flying Dutchman” (“as played at sight by the spa orchestra at seven o’clock in the morning at the fountain”)]. Hindemith made a substantial contribution to the genre of music theatre with his operas Cardillac (1925-26/1952), Mathis der Maler (1934-35) and Die Harmonie der Welt (1956-57).

Hindemith received honorary doctorates from numerous universities including the University of Frankfurt (1949), the FU Berlin (1950) and Oxford University (1954). He also received the Bach Prize from the city of Hamburg (1951), the Order pour le mérite (1952), the Sibelius Prize (1955), the Kunstpreis from the federal state of North-Rhine Westphalia (1958) and the Bazlan Prize (1963). Since 2000, the city of Hanau has commemorated “the lifework of this illustrious artist” with the biennial awarding of the Paul Hindemith Prize of the city of Hanau.

Photo and Biography courtesy of Schott Music

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Tracks 1-4 recorded 2003 in Bratislava, Slovakia

Session Producer Emil NizanskySession Engineer Hubert Geschwandtner

Tracks 5-9 recorded June 6-7, 1988 at American Academy and Institute of Arts and Letters in New York NY

Session Producer and Engineer Max Wilcox

Tracks 10-13 recorded April 15, 2013 at Futura Productions in Roslindale MA

Session Producer Bob Lord, Andy HappelSession Engineer John Weston

Original cover photo by Lisa Marie MazzucoInside panel photo by David J. Murray, ClearEyePhoto.com

Label Executive Producer Bob LordProduct Manager Jeff LeRoyEditing, Mixing, & Mastering Andy HappelArt & Production Direction Brett PicknellGraphic Designers Renée Greenspan, Ryan HarrisonPR Coordinator Ariel Oxaal

info@navonarecords.com www.navonarecords.com 223 Lafayette RoadNorth Hampton NH 03862

Navona Records is a PARMA Recordings company

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*Under license from Sony Music Commercial Music Group, a division of Sony Music Entertainment.

CONCERTO FOR CLARINET AND ORCHESTRA Slovak Radio Symphony Orchestra | Kirk Trevor, conductor Richard Stoltzman, clarinet

1 Ziemlich schnell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8:47 2 Schnell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:07 3 Ruhig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7:29 4 Heiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:13

QUINTET FOR CLARINET AND STRING QUARTET OP. 30* TASHI | Richard Stoltzman, clarinet; Ida Kavafian, violin; Theodore Arm, violin; Steven Tenenbom, viola; Fred Sherry, cello

5 Sehr lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:05 6 Ruhig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7:59 7 Schneller Landler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:02 8 Arioso: Sehr ruhig . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:48 9 Sehr lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2:14

SONATA FOR CLARINET AND PIANO Richard Stoltzman, clarinet; Yehudi Wyner, piano 10 Maßig bewegt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5:17 11 Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:44 12 Sehr langsam .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6:31 13 Kleines Rondo. Gemachlich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3:02